Dancing a more Colourful Quickstep

The Quickstep is lively, light and a huge amount of fun, unfortunately these very qualities have led to an ongoing emphasis over the past few decades on speed and syncopation that have lost one of the best characteristics of this dance. 

Victor Silvester, a band leader who was well known in the dance community wrote, “This dance, when performed well, can be as attractive to watch and as much of a ballroom dance as any we have.” 

The steps were standardized at London’s Great Conference in 1929 and made a clear distinction from its Foxtrot roots, while additional light and shade was added to the rhythm of the dance with the influence of Swing music in the 1930s. 

New steps arrived in the late 1950s when leading couples including Harry Smith-Hampshire and Doreen Casey started adding hops, skips, jumps and the pendulum action to their routine. 

Together with another British couple; Bill and Bobbie Irvine and Australians; Alf Davies and Julie Reaby, these dancers created something of a stir in the ballroom world as the Quickstep took on a lively personality that simply didn’t exist anywhere else in the formal ballroom world.

However today, most of the dance consists of ‘Pepperpots’, Scatter Chasses and other syncopated steps, with very little variation in choreography…there are even couples who do nothing but run around the floor for 30 seconds or more. 

Here’s some insight to help you create a Quickstep that will stand out from the crowd.

When you study the musical patterns of traditional Quickstep choreography, there are actually more “Slows” than there are “Quicks.” 

For example, a basic Quickstep routine consisting of; Quarter Turn to the Right, Chasse, Forward Lock, Spin Turn, Chasse, Forward Lock, Natural Pivot Turn, Natural Turn, Heel Pull, Double Reverse Spin, Cross Chasse, will have 23 Slow movements and only 20 Quick movements. 

This little detail is lost on too many dancers and in an effort to add power and speed to the dance, are turning all the Slow movements into syncopated steps, so that all you have left is Quicks and faster-than-Quick movements.

There is nothing wrong with making your Quickstep fast and lively but, a desire to show energy and speed should not sacrifice the beauty of musical contrast. 

A slow is exactly twice as long as a Quick and when we use the entire 2-beat value of a Slow we can create a beautiful contrast to the Quicks, especially if we also include syncopated steps in our dancing.

Quickstep should breathe with joy, power and contrasting speeds…you might have Quick, Quick, Quick-and-Quick, Quick-and-Quick and then add some beautiful variety with a sudden group of Slow movements. 

From there the couple can once again go ‘off to the races’ with fast, exciting step patterns until they once again slow things down to create dramatic flourish in the choreography; a couple can look more masterful and in control by showing a mature understanding of musical contrast rather than trying athleticism with their choreography.

Take a look at your Quickstep choreography and think about where you might add light and shade with Slow actions so that your entire routine isn’t just frantic racing around the floor. 

You’ll end up with a distinctive look that stands out from all the rest.

Need evidence? Here’s one of the most musical couples, Luca & Loraine Baricchi, dancing a Quickstep full of musical contrast.

When you see musicality, you know it…the dancing connects to and enhances the music, almost like an added section in an orchestra. 

Being able to dance with musicality doesn’t just happen and some people seem to have a natural talent but generally, those people have been exposed to one or many forms of musicality from what they listened to, saw or engaged in, while others consciously develop and hone it over time. 

The definition of musicality is sensitivity to music plus, the ability to add creative interpretation. The interpretation in dance must show the dancer moving in a manner that is in harmony with the rhythm, melody and mood of the music. 

It is neither random nor rigid and these a 4 key points on musicality will help you to understand how to show it.

1. Timing - It is impossible to be musical without solid timing, since it builds on timing.

That said, being on time without musicality can look like the dancer is being controlled by the music or just look a bit dull.

You can recognize musicality when the dancer is able to elongate certain notes or phases or syncopate in a way that fits the feel of the dance, while continuing to stay on time.

2. Character and Mood - Foundational to musicality is “showing” the music in how you dance.

At its most basic, it means that the type of dance should be reflected in your movement to the extent that one can recognize the dance even without the music.

To be fully musical however, the mood of the music should be as clear as the type of dance.

There are sad and happy waltzes, darker or lighter cha-chas. 

It is not a matter of choreography; it is a matter of showing intention with slight variations in shape, intensity and timing.

3. Variation - A dancer can play with at least 3 aspects of the music and go between each in a single song. 

As long as the dancer understands that he or she is moving to one element or another, the movement will remain on time and will add a great deal of interest. 

These 3 aspects are:

Rhythm – this is the basic pattern in the music. 

It is often the base of the music and for example; defines rumba as distinct from quick-step.

Melody – the intonation and sequence of notes that makes a song distinctive among other songs. 

It is often shown in the treble or the vocals but can be made up of several components.

Harmony – is the intersection of notes, which at its most basic is the intersection of the notes or instruments of the rhythm and those of the melody but, more often is made up of multiple elements in each.

You can think of each of these three elements as waves that you can catch at any point in the music, to show musicality.

4. Tension and Release - Extended rises, falls or hesitations are simple ways to build tension. 

Tension is only interesting and musical however, if there is a recognizable release and it fits the tension, pauses or highlights of the music.

On a related note, dance highlights can only be highlights if there are low lights and balance in this respect is much more pleasing and musical to watch, than a dance that has too much of one or the other.

Too often, people have been giving out the advice of "just feel the music" or "just watch me" to those that struggle with timing, but a solution should be something more than that.  

Tips should be actionable, specific and have a little more depth than the mystical realm of feeling something that you hear.  

Let’s start with some popular dances that will help you understand Timing, Tempo, and Rhythm. 

1. Bachata and Merengue 

These dances (which really are a lot of fun) are great for your timing. 

How it works: 

Fundamentally, Bachata and Merengue are dances where you march or step to every beat of the music.  

This mean that you don't have to do anything fancy from a timing standpoint, you just march.  

Miss the first beat?  No problem, start marching anytime you want.  

What they add:

They help you establish your recognition of Tempo, establishes Timing, and creates the baseline for Rhythm. 

2. Waltz 

Waltz is the Merengue or Bachata of ballroom dancing!

How it Works:

Remember the advantage of Bachata and Merengue? (Hint: You have a step on every beat of the music)  

Well, the same thing applies to the Waltz.  

What the Waltz adds:

In addition to the constant and steady tempo of "1-2-3, 4-5-6" in the Waltz, this dance also allows you to practice different rhythms to develop recognition from an auditory standpoint, and control from a physical standpoint.  

You can do this using Hesitation movements (1 Step for 3 Counts).

Combining this pattern with the consistent foot placement of a box step will help both your ear for the music and your control of your movement.   

3. Tango

The Tango is a dramatic dance that tells a story so it's only natural for the basic step to have great grammar.  

How it Works:

It's easy to get lost trying to find one certain, specific beat of the music to start on but the Tango is a different story. 

The music is laid out like a sentence; There's a capital letter, or strong emphasis at the beginning of the "sentence", and things, seemingly, come to a halt at the end of the eighth count - like a period.  

The result is a predictable, and therefore, repeatable timing with the 8 counts of the Tango Basic fitting perfectly with the sentence-like music.  

What the Tango adds:

Tango is one of the best dances to not only acquire the skill for knowing when to start, but it also creates a template to follow when the music, and sentence, becomes more subtle. 

The end result is a more confident dancer overall. 

Timing isn't something one can master by only reading about it, but reading about it is much better than assuming it is something you're incapable of having.  

Timing, rhythm, and tempo are all skills that can be taught, learned and will develop and, while we can't pack every timing lesson into one article, or replace the supervised application of the information, just consider this as the first step against bad timing, the perception of bad timing...and any "just feel the music" advice about timing.